| Michael Colvin |
Introduction “The promising Michael Colvin possess one of the most beautiful young lyric tenor instruments around…his voice is sizable with an intrinsic timbral sweetness—capable of a heroic ring above the staff, as well as cleanly articulated passagework…gratifyingly allowed ‘Ich baue ganz’, dispatching this technical litmus test with velocity and grace.” Opera News – Mark Thomas Ketterson BiographyHailed in Opera News as possessing "one of the most beautiful young lyric tenor instruments around" Irish-Canadian tenor Michael Colvin has appeared to critical acclaim on opera and concert stages throughout Canada, the USA, UK and Europe. Mr. Colvin’s 2011-2012 season will be highlighted by featured roles in important German repertoire. For Pacific Opera Victoria he sings der Steuerman in DER FLIEGENDE HOLLÄNDER, Narraboth in SALOME for Manitoba Opera, Beethoven’s MISSA SOLEMNIS for the Richard Eaton Singers of Edmonton and Mahler’s DAS LIED VON DER ERDE for the Louisville Orchestra. He returns to the English National Opera’s production of PETER GRIMES as Bob Boles touring to Oviedo and will later appear in the ENO’s productions of MADAMA BUTTERFLY as Goro and BILLY BUDD as Red Whiskers, covering Capt.Vere. Trevor Pinnock is his conductor for MESSIAH with the National Arts Centre Orchestra in Ottawa and he will be heard for Toronto’s Aldeburgh Connection. In 2010-2011, he returned to English National Opera as Flute in Britten’s A MIDSUMMER NIGHT’S DREAM and covered the role of Aschenbach in the Canadian Opera Company’s DEATH IN VENICE. He was heard with the Seattle Symphony and Kitchener Waterloo’s Grand Philharmonic Choir in MESSIAH and continued his recording project of Ukrainian art songs by Lysenko. He also appeared for the New Mexico Symphony singing Haydn’s DIE SCHÖPFUNG. His 2009-2010 Season included the role of Peter Quint in Britten’s TURN OF THE SCREW at English National Opera, conducted by Sir Charles Mackerras and directed by David McVicar, Arbace and Idomeneo (cover) in the Canadian Opera Company’s production of IDOMENEO, conducted by Harry Bicket and as the Italian Singer in Pacific Opera Victoria’s CAPRICCIO by R. Strauss. For the Welsh National Opera, he covered the role of David in DIE MEISTERSINGER. On the concert stage his schedule included Verdi’s REQUIEM for the Richard Eaton Singers of Edmonton, Beethoven’s Symphony No. 9 for Vancouver Symphony and MESSIAH for the New Mexico Symphony, Newfoundland Symphony and Toronto’s Elmer Iseler Singers. Michael's 2008-2009 season featured his Minnesota Opera debut as Belmonte in DIE ENTFÜHRUNG AUS DEM SERAIL and at English National Opera as Bob Boles in David Alden’s production of PETER GRIMES conducted by Edward Gardner. Concert highlights included Haydn's CREATION with the Rochester Philharmonic Orchestra, Beethoven’s Symphony No. 9 with the Calgary Philharmonic and Kingston Symphony, MESSIAH with the Winnipeg Symphony and Chorus Niagara, and Vivaldi's DIXIT DOMINUS for the National Ballet of Canada. Further credits include Ferrando in COSI FAN TUTTE for the Canadian Opera Company, Ramiro in LA CENERENTOLA for Portland Opera, Don Ottavio in Chicago Opera Theater's DON GIOVANN, and his critically acclaimed UK opera debut as Rodrigo in LA DONNA DEL LAGO for Garsington Opera. Other engagements have included Almaviva in THE BARBER OF SEVILLE for Lyric Opera of Kansas City and Opera Lyra Ottawa, Belmonte in DIE ENTFÜHRUNG AUS DEM SERAIL, RAPE OF LUCRETIA and SEMELE for Chicago Opera Theater, the COC's RODELINDA conducted by Harry Bicket, Argirio opposite Ewa Podles in the Canadian Opera Company’s TANCREDI, Shepherd in OEDIPUS REX for the Edinburgh International Festival, Belfiore in IL VIAGGIO A REIMS with Portland Opera, Tamino in Manitoba Opera's THE MAGIC FLUTE and L’ITALIANA IN ALGERI for Opera Festival of New Jersey. For the COC he has sung in L’ITALIANA IN ALGERI, IL VIAGGIO A REIMS (Belfiore), DON GIOVANNI, and THE BARBER OF SEVILLE. Other credits include a recording project of the works of Lysenko, a big-screen debut as Don Ottavio in the film DON GIOVANNI UNMASKED alongside baritone Dmitri Hvorostovsky and recordings on the NAXOS, CBC and Warner Music labels. On the concert platform Michael has sung Mozart’s REQUIEM for Chicago’s Grant Park Festival and Toronto Symphony Orchestra, Handel’s MESSIAH and Bach's WEIHNACHTSORATORIUM with Nicholas McGegan and Philharmonia Baroque Orchestra, MESSIAH with the Toronto Symphony Orchestra / Glover, National Arts Centre Orchestra / Pinnock and Rochester Philharmonic, Schubert’s MASS IN A-FLAT with Helmut Rilling and Festival Vancouver, BEETHOVEN 9 with the Vancouver Symphony Orchestra, Toronto Symphony Orchestra, Detroit Symphony Orchestra, l’Orchestre symphonique de Quebec, Elora Festival and Festival de Lanuadière, Elgar's DREAM OF GERONTIUS, Haydn's DIE SCHÖPFUNG and Verdi’s REQUIEM for the Elora Festival, Britten's SERENADE FOR TENOR, HORN AND STRINGS with Richard Bradshaw and the Canadian Opera Company Orchestra, Dvorak's STABAT MATER with Andrey Boreyko and the Winnipeg Symphony Orchestra, Mendelssohn's ELIJAH with the Ulster Orchestra in Belfast, and Mahler’s DAS LIED VON DER ERDE for the National Ballet of Canada. Additional highlights include Vaughan Williams' ON WENLOCK EDGE and Brahms’ LIEBESLIEDER WALZER for CBC Radio and Schubert's DIE SCHÖNE MÜLLERIN at Toronto's Glenn Gould Studio. Born in Ballymena, Northern Ireland, and raised in Toronto, Canada, Michael began his musical studies at St. Michael's Choir School in Toronto and returned to music after attaining his Bachelor of Science in Immunology from the University of Toronto. A graduate of the U. of T. Opera Division, Michael has also trained with the Canadian Opera Company's Ensemble Studio, the Britten-Pears School in Aldeburgh, England and Canada’s Banff Centre for the Arts. He has been the recipient of numerous awards and scholarships, most notably the Canadian Opera Foundation Award, Chalmers Performing Arts Award and a Canada Council Artist Grant. Michael makes his home in Toronto, Canada. January 2012
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Reviews“It (Britten’s Turn of the Screw) was already the most chilling show in town…but English National Opera’s revival of McVicar’s 2007 production turns the screw even tighter…Another (change) is the truly demonic Quint created by the one adult newcomer to the cast, Michael Colvin. He’s almost bestial with his claw-like hands, hunched back, lurching gait and spookily disembodied singing.” – The Times “(Sir Charles Mackerras) delivery of the Screw last night was stunning – as was everything about this show, which was largely the same cast as before but with a new Quint (Michael Colvin). “An outstanding cast…” – The Telegraph “Michael Colvin is excellent in The Prologue – every word carefully pointed – and his Peter Quint was menacing because of its understatement. The way his calls to Miles insinuated themselves into the accompanying orchestra textures were perfectly judged.” – Classical Source “Michael Colvin joins them as the new Prologue/Quint, and in my opinion outdoes his predecessor in the role: the ardent sound he produces is a welcome change from the insipid sound that some English tenors have a tendency to produce, and he was genuinely scary.” – Musical Criticism “There can be no doubt however that Peter Quint has been a malevolent presence in Miles’ life, and in Michael Colvin’s slightly demonic demeanour and chilling stage presence he made the character the true embodiment of evil. His singing had plenty of bite too.” – musicOMH.com
Opera News – Mark Thomas Ketterson
"Canadian tenor Michael Colvin, as the villainous usurper Grimoaldo, also sang up a storm, and his one a typical, wistful aria, about the shepherd finding peace with his sheep, was surprising and touching." The Globe and Mail on Handel's RODELINDA (Canadian Opera Company, 2005)
"Of all Canada's superb tenors, these days the Irish-born but Canadian-raised and -trained Colvin is the one I most look forward to hearing. His lovely, healthy tenor, allied to his sure sense of pitch, was the rock… Colvin's big solo, the’ Ingemisco’, was gorgeous, and his opening phrases at the "Hostias" in the Offertorium were very moving." The Globe and Mail on Verdi's REQUIEM (Elora Festival, 2005)
“ Michael Colvin supplied a mellifluous Blemonte.” ( Vancouver Opera,DIE ENTFUHRUNG) Opera Canada – Floyd St. Clair
"Une mention pour le Canadien Michael Colvin, qui fait presque jeu egal avec la contralto polonaise (Ewa Podles). Qualite du timbre, aisance dans les vocalises, intuition stylistique: ce tenor a tout pour faire carriere dans Rossini" (trans: "A mention for the Canadian Michael Colvin, who is almost the equal of Polish contralto Ewa Podles. Quality of tone, ease of technique, stylistic intuition: this tenor has it all for a career in Rossini.") Opera International on Rossini's TANCREDI (Canadian Opera Company, 2005)
"All four (soloists) were strong indeed, from Lichti's bursting entrance with the theme, and Colvin's splendid solo..." The Guelph Mercury on Beethoven's NINTH SYMPHONY (Elora Festival, 2004)
"Tenor Michael Colvin spun pure, lyric honey as Belfiore, his Act II duet with Durkin providing the vocal highlight of the evening." Opera News on Rossini's ILVIAGGIO A REIMS (Chicago Opera Theater, 2004)
"Among the men, the big discovery was the fast-rising Rossini tenor Michael Colvin, singing sweetly, ardently and musically as Belfiore." Chicago Tribune on Rossini's IL VIAGGIO A REIMS (Chicago Opera Theater, 2004)
"As the lecherous Il Cavalier Belfiore, Michael Colvin blended an Irish tenor of high-flying innocence with wonderfully oily manners. His duet with Corinna was a highlight of the evening." Chicago Sun-Times on Rossini's IL VIAGGIO A REIMS (Chicago Opera Theater, 2004)
" Michael Colvin, as the romantic lead Belmonte, was assured and luminous in his solo work, and an excellent partner for soprano Aline Kutan as Konstanze..." Vancouver Sun on Mozart's ABDUCTION FROM THE SERAGLIO ( Vancouver Opera, 2004)
"…The best surprise was tenor Michael Colvin, like contralto Marie-Nicole Lemieux, making his debut with the Toronto Symphony Orchestra. His vibrato-free, deep-felt recitatives, consistent warmth and the heroic cast he brings to his singing suggest a very successful future." The Toronto Star on Handel's MESSIAH ( Toronto Symphony Orchestra, 2003)
" Michael Colvin's clear, bright, lyrical tenor wonderfully suited his Beethoven and Schubert songs. In Beethoven's 'The Kiss', he deftly brought out the musico-poetic transformation from serious romance to jocular situation. Colvin made his songs his own - they seemed to be part of his living, breathing being. He always found a way of singing a repeated word or phrase differently the second time around. His German diction was well nigh pristine. His simple gestures, body language and facial expressions added an extra sheen to his presentation." -The Hamilton Spectator on Opera Ontario'sLIEDERABEND ( Opera Ontario, 2003)
" Michael Colvin displayed stylistic assurance and sustained Lindoro's high tessitura with fortitude" Opera News on Rossini's L'ITALIANA IN ALGERI ( Opera Festival of New Jersey, 2003)
"There's only one outstanding voice in the cast – that of tenor Michael Colvin (Lindoro)” The National Post on Rossini’s L’ITALIANA IN ALGERI (Canadian Opera Company, 2003)
"Partnering her was Michael Colvin, rapidly becoming a noted Rossinian... Colvin proved an impressive Lindoro, singing with outstanding agility and clarion, elegant tone." OPERA Magazine ( UK) on Rossini's L'ITALIANA IN ALGERI (Canadian Opera Company, 2003)
"Tenor Michael Colvin as Lindoro, Isabella's true love, effortlessly shares top singing honours" The Globe and Mail on Rossini's L'ITALIANA IN ALGERI (Canadian Opera Company, 2003)
"his ( Michael Colvin as Jupiter) vocal work was godlike in every respect, with clarion timbre and pinpoint accuracy." OPERA Magazine ( UK) on Handel'sSEMELE (Chicago Opera Theater, 2002)
"The stand-out among the performers was Michael Colvin, his tenor robust and forwardly placed, wonderful to hear in the opera's most famous air, Where'er you walk." Chicago Tribune on Handel's SEMELE (Chicago Opera Theater, 2002)
"Setting the tone was Canadian tenor Michael Colvin, whose Male Chorus was absolutely bright in color, clear in diction and musically secure, towering over the three other male soloists." Opera Canada on Britten's THE RAPE OF LUCRETIA (Chicago Opera Theater, 2002)
"as one admired the honey-toned, impassioned Tamino of Michael Colvin" Winnipeg Free Press on Mozart's THE MAGIC FLUTE ( Manitoba Opera, 2001)
"…Tenor Michael Colvin (Arbace) in particular bowled me over with his masterfully stylish performance" The OPERA Quarterly on Mozart's IDOMENEO (Canadian Opera Company, 2001)
" Michael Colvin sang the tenor arias and recitatives with precision, feeling and superb diction" The Ottawa Citizen on Handel's MESSIAH (National Arts Centre Orchestra, 2000)
"The brightest light of the evening was tenor Michael Colvin in the role of Count Almaviva. Colvin's voice seemed a perfect model of the 'bel canto' style of singing that Rossini's music employed. Supple and pliant, it moved beautifully and with precision through the rapidly decorated vocal runs supplied by the composer." The Sun Newspaper on Rossini's THE BARBER OF SEVILLE (Lyric Opera of Kansas City, 2000)
OPERA Magazine on Britten's THE RAPE OF LUCRETIA (Canadian Opera Company)
This is a superb score, which is served up with panache by the COC orchestra under conductor Harry Bicket and a powerful cast with particularly delicious performances from Danielle de Niese, Gerald Thompson and Michael Colvin, all of whom combine strong talents on both a vocal and dramatic level.” Toronto Sun on Handel’s RODELINDA (Canadian Opera Company, 2005) |